All further references to this work will be cited in the text as "DS" followed by the page numbers. As stated earlier, with regard to the Lacanian schema, the structure of the "will-have-been" is the temporality of the signifier, of the subject lost in language.
What has happened since Socrates? From Socrates to Freud and Beyond. The possibility of the absence of the referent, he argues, "is not only an empirical eventuality" but is constitutive of the mark: But from the moment that the specific structure of this emergence is grasped, we find it absolutely impossible to speculate on what preceded it other than by symbols which were always applicable.
The logic of the mark in Camera Lucida thus seems situated not in the realm of intentionality--that structural necessity of an "irreducible absence of intention" that Derrida explores in "Signature, Event, Context"--but in temporality.
Nevertheless, I find the refusal of the logic of the mark as Derrida defines it in this passage to be unconvincing: All further references to this text will be cited as "S2" followed by the page numbers.
We imagine that there must have been a time when people on this earth began to speak. Derrida goes on to ask: And since this constraint exists only for Photography, we must consider it, by reduction, as the very essence, the noeme of Photography" CL In fact, one could easily substitute "photograph" for "signature" in the following passage from Derrida: A "defeat of time" is certainly evident in this particular aspect of the "will-have-been," in Mathesis singularis roland barthes "what appears to be new Slavoj Zizek, Enjoy Your Symptom!: Although growing up in a religion-without-images where the Mother is not worshipped Protestantism but doubtless formed culturally by Catholic art, when I confronted the Winter Garden Photograph I gave myself up to the Image, to the Image-Repertoire CL ; 75; my italics.
From Socrates to Freud and Beyond, trans.
By taking a thousand differential precautions, one must be able to speak of a punctum in all signs and the repetition and iterability structures it alreadyin any discourse, whether it be literary or not. What is realized is not the past definite of what was, since it is no more, or even the present perfect of what has been in what I am, but the future anterior of what I shall have been for what I am in the process of becoming.
I read at the same time: Yes, of course, every day. During her illness, I nursed her, held the bowl of tea she liked Ultimately I experienced her, strong as she had been, my inner law, as my feminine child At the end of her life Nevertheless, scription--whether in signatures or in handwriting more generally--and the recordings of vocal music discussed by Barthes would seem to share, at least to some extent, the temporal paradox evoked by the photograph.
I arrived, traversing three-quarters of a century, at the image of a child [an image of a--a not insignificantly ambiguous modifier--child, which deeply implicates Barthes-the-child-of-his-mother with his mother-as-child]: In order to function, that is, to be readable, a signature must have a repeatable, iterable form, imitable form; it must be able to be detached from the present and singular intention of its production" SEC How would this be poignant to us if a metonymic force It is also interesting to note that the grammatical tense of the future anterior--the "will have been" or some variation thereof--permeates the fragmented texts of "Envois," just as in "At This Very Moment in This Text Here I Am.
The unicity that Antigone insists upon is, I would suggest, very much akin to the the "Intractable" essence of the Photograph--the "That-has-been"--insisted upon by Barthes CL All further references to this text will be cited as "PC" followed by the page numbers.
This metonymy of the punctum, "scandalous though it may be," writes Derrida, nevertheless "allows us to speak, to speak of the unique" DRB Johns Hopkins University Press, Not only do I cherish the pleasure of writing my texts by hand, using a typewriter only in the final phase of preparation, but also and above all, I love the traces of graphic activity, wherever they are This applies to anything whatsoever, including the origin of the world S2 5.
All further references to this work will be cited in the text as "SEC" followed by the page numbers. I observe with horror an anterior future of which death is the stake. It is, however, also important to emphasize the prominence of the future anterior throughout the work of Derrida.
Whether or not the subject is already dead, every photograph is this catastrophe CL It is as if the Photograph always carries its referent with itself Alan Sheridan New York: Verso,Photographs and Signatures: Absence, Presence, and Temporality in Barthes and Derrida.Download